Philip II of Spain, I of Portugal (1527-1598), was a fervent Catholic, a monarch instructed and worship. Owner of a vast empire, was also a lover of the arts. Despite the difficult financial situation of Spain, whose wars waged on several fronts demanded a lot of money, there were several works of art that the king ordered and purchased. These include paintings Jheronymus Bosch.
Philip II, who never met the artist who died in 1516, bought them believing they had gone out of the hands of this master who rarely signed and dated their creations . Now, a team of international experts, the Project for Research and Conservation Bosch, is about to publish the report which concluded, among other things, that three of the paintings of the Spanish royal collections that today belong to the Prado Museum in Madrid, and that until now have been attributed to the Flemish artist, were not very likely that he performed: Table of Sins , Madness Stone Extraction and Temptations Saint Anthony Abbot.
Half of the works that the Spanish art gallery exhibits as the painter will be so, according to this group of researchers, written by some of his followers. Conservatives do Prado, who make a point of mentioning that the museum has the world’s largest Bosch collection, dispute the findings, as expected. And that’s why this Bosch Project report, a monograph in two volumes, has installed the controversy even before its publication, scheduled for February 1.
The team, led by Matthijs Ilsink, historian Art of the Noordbrabants Museum in Hertogenbosch (Netherlands), land where the painter was born between 1450 and 1460, has been studying and documenting the works attributed to the Flemish artist since 2010 in order to determine, as definitively as possible , which were performed by Bosch, famous for his unique depictions of hell and paradise. A task that, although framed by scientific processes, is not contesting free.
Among the works whose authenticity was again confirmed is the triptych Temptation of St. Anthony (c. 1500), which belongs to the collection of the National Museum of Ancient Art in Lisbon, which was carefully examined in 2011 and that will be loaned to Madrid for the exhibition that the Prado mark the 500th anniversary of the death of painter ( Bosch : Exposing the centenary between May 31 and September 11)
PUBLIC contacted the Prado looking for reactions. report, but the museum’s communications office said none of his conservative was available. However, the Spanish newspaper ABC , its deputy director, Miguel Falomir, have challenged the findings. Lamenting that the “self-styled Research Project and Bosch Conservation” had sent their report’s conclusions not to mention the contributions of the Madrid art gallery, said. “Their arguments are little overwhelming” Pilar Silva, head of the Flemish Painting department and Schools North (1400-1600) museum, the Bosch project adviser from the start, goes further, adding that the museum technicians were used as mere “props” in the whole process: “They have not consulted us at all to the report . Worked with wonderful material, but were unable to take advantage of it. “The conservative refers to the detailed analysis of each of the works, done using, for example, macro photography and refelctografia infrared, techniques, enabling you to paint details invisible the naked eye and even to what’s beneath the layers of paint.
According specified the art historian Ron Spronk, who belongs to the team of experts, the Queen’s Gazette , the magazine Queens University (Canada), where he teaches, the style of the underlying design (the one that the painting hides) and the overall quality of Table of Sins , for example, are not comparable to those of other works at the heart of production Bosch.
Arguments “to laugh”
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